NECSUShttps://necsus-ejms.org
European Journal of Media StudiesMon, 11 Dec 2017 09:00:39 +0000en-GBhourly1https://wordpress.org/?v=4.9.1Fritz Lang (1974/1990)https://necsus-ejms.org/fritz-lang-19741990/
Thu, 07 Dec 2017 00:24:05 +0000https://necsus-ejms.org/?p=4953Director: Werner Dütsch First broadcast: 3 December 1990 Werner Dütsch, born in 1939, came to the WDR film department in 1970. Over more than three decades, he produced essayistic work by Helmut Färber, Harun Farocki, Hartmut Bitomsky, and the like. He also acted as a co-producer for films by Johan van der Keuken (Amsterdam, Global […]

]]>TELEKRITIK: Über zwei Filme von Peter Nestlerhttps://necsus-ejms.org/telekritik-uber-zwei-filme-von-peter-nestler/
Thu, 07 Dec 2017 00:21:49 +0000https://necsus-ejms.org/?p=4949Director: Rainer Gansera First broadcast: 28 October 1975 TELEKRITIK was a series of programs with at least ten installments between 1973 and 1975. Its commissioning editor, Angelika Wittlich, had just finished university when she began her work. She recalls: I had just come to the WDR. I had done German and Romance Studies and was […]

]]>TELEKRITIK: Über Song of Ceylonhttps://necsus-ejms.org/telekritik-uber-song-of-ceylon/
Thu, 07 Dec 2017 00:19:03 +0000https://necsus-ejms.org/?p=4956Director: Harun Farocki First broadcast: 7 October 1975 Depending on how you count, Harun Farocki’s 30-minute analysis of Basil Wright’s The Song of Ceylon was either the third or the fourth program the director realised for the Telekritik series at WDR. In 1973, his The Trouble with Images (1973) had provoked heated debates within the […]

]]>Towards an alternative history of the video essay: Westdeutscher Rundfunk, Colognehttps://necsus-ejms.org/towards-an-alternative-history-of-the-video-essay-westdeutscher-rundfunk-cologne/
Thu, 07 Dec 2017 00:16:29 +0000https://necsus-ejms.org/?p=4946by Volker Pantenburg This dossier on audiovisual essays focuses on a trajectory in the history of the video essay that tends to be ignored in current discussions of the format. According to a well-known genealogical account, the video essay was born from the encounter of platforms like YouTube, social media, cinephilia 2.0, inexpensive DIY editing […]

]]>Marx at the Movies / Cartographies of the Absolutehttps://necsus-ejms.org/marx-at-the-movies-cartographies-of-the-absolute/
Thu, 07 Dec 2017 00:14:20 +0000https://necsus-ejms.org/?p=5153It is difficult to separate the history of cinema, a form of art so embedded within the twentieth century, from the history of Communism. Perhaps it is not only because of the coincidence of the two dates of birth but, rather, there is something more profound and more structural in regards to their common heritage […]

]]>Social Media – New Masses / Updating to Remain the Samehttps://necsus-ejms.org/social-media-new-masses-updating-remain/
Thu, 07 Dec 2017 00:11:30 +0000https://necsus-ejms.org/?p=5047Do we still live in a mass society? Does that foul spectre of the long and dark 20th century – the masses – extend into the 21st? We would perhaps like to believe that it does not. Or should we say they do not? Part of the anxiety over this strange socio-logical category can already […]

]]>A new era of Maghrebi-French cinema: Two perspectiveshttps://necsus-ejms.org/a-new-era-of-maghrebi-french-cinema-two-perspectives/
Thu, 07 Dec 2017 00:08:57 +0000https://necsus-ejms.org/?p=4991From Tunis to Casablanca and further afield in the diaspora, Maghrebi-French filmmakers have articulated the historical transformations of their societies, including their changing place in the world. All the major events and historical moments that have shaped the Maghreb have been put on camera, with original and critical portrayals detailing the social, political, and economic […]

]]>Whose perspective is this? A few thoughts on Eija-Liisa Ahtila’s Studies on the Ecology of Dramahttps://necsus-ejms.org/whose-perspective-is-this-a-few-thoughts-on-eija-liisa-ahtilas-studies-on-the-ecology-of-drama/
Thu, 07 Dec 2017 00:01:50 +0000https://necsus-ejms.org/?p=5063Since the early 1990s, Finnish artist Eija-Liisa Ahtila has been considered a master of the split-screen installation form. Her large-scale, multi-channel cinematic works create specific perceptual situations, while investigating the construction of audiovisual discourses and testing potentialities and limits of cinematic narration. In her works, Ahtila challenges cinema’s conventions of single-channel storytelling, using multiple screens […]

]]>Urban Now: City Life in Congohttps://necsus-ejms.org/urban-now-city-life-in-congo/
Wed, 06 Dec 2017 23:59:11 +0000https://necsus-ejms.org/?p=5011The exhibition Urban Now: City Life in Congo took place at WIELS (Brussels) from 8 May – 14 August 2016 and was co-organised by Congolese artist Sammy Baloji and Belgian anthropologist Filip de Boeck. Baloji currently divides his time between Lubumbashi and Brussels and has exhibited his work in manifold exhibitions, such as Hunting and […]

]]>Promenade through the theatre of illusion: Dioramas in Palais de Tokyohttps://necsus-ejms.org/promenade-through-the-theatre-of-illusion-dioramas-in-palais-de-tokyo/
Wed, 06 Dec 2017 23:55:36 +0000https://necsus-ejms.org/?p=5018The exhibition Dioramas, curated by Claire Garnier, Laurent Le Bon, and Florence Ostende at Palais de Tokyo in Paris, proposes the first extensive cross-media survey of one of the most fascinating theatres of illusion and apparatuses of display – the diorama. The survey covers a period spanning from the beginning of the nineteenth century to […]

]]>Topophilic tendencies at Birmingham’s Flatpack Film Festivalhttps://necsus-ejms.org/topophilic-tendencies-at-birminghams-flatpack-film-festival/
Wed, 06 Dec 2017 23:28:19 +0000https://necsus-ejms.org/?p=4969Described variously in the media over the years as ‘one of the most idiosyncratic film events in the UK’[1] and ‘willfully eclectic’,[2] the eleventh edition of Birmingham’s Flatpack Film Festival (Flatpack)[3] took place 4-9 April 2017.[4] Situated in the UK’s second city, Flatpack[5] has come to embody a specific representation of its home city that […]

]]>Breaking down the tribes: Opening night films at Frameline and Sydney Mardi Gras Film Festivalhttps://necsus-ejms.org/breaking-down-the-tribes-opening-night-films-at-frameline-and-sydney-mardi-gras-film-festival/
Wed, 06 Dec 2017 23:25:53 +0000https://necsus-ejms.org/?p=4966The opening night film for an LGBTQ film festival is a rare opportunity to bring all the members of the community together. As such, it is imperative for the films in this privileged position to resonate with audiences beyond merely having a gay or lesbian character. The queerness of the films of these festivals can […]

]]>Fashion film festivals: Shifting perspectives on fashion in one of the world’s dirtiest industrieshttps://necsus-ejms.org/fashion-film-festivals-shifting-perspectives-on-fashion-in-one-of-the-worlds-dirtiest-industries/
Wed, 06 Dec 2017 23:23:23 +0000https://necsus-ejms.org/?p=4983Fashion film festivals have quite suddenly mushroomed worldwide. After the establishment of the pioneering Fashion in Film Festival[1] in 2006 in London, the idea was picked up in Paris by fashion critic and blogger Diane Pernet, who founded A Shaded View On Fashion Film[2] in 2008. From then on, the fashion film festival concept has […]

]]>Mapping the fashion film festival landscape: Fashion, film, and the digital agehttps://necsus-ejms.org/mapping-the-fashion-film-festival-landscape-fashion-film-and-the-digital-age/
Wed, 06 Dec 2017 23:20:21 +0000https://necsus-ejms.org/?p=4979The digital revolution and the reorganisation of the media environment have contributed to the emergence of new forms to communicate and to apprehend media. These mutations and technological evolutions have allowed renewed fashion imagery and enabled new forms of communicating fashion, making fashion films a relevant and widely broadcasted form. Forms of distribution move from […]

]]>The dress is the screen: Dancing fashion, dancing mediahttps://necsus-ejms.org/the-dress-is-the-screen-dancing-fashion-dancing-media/
Wed, 06 Dec 2017 23:09:53 +0000https://necsus-ejms.org/?p=5138by Marie-Aude Baronian ‘I am nothing without my dress’, says Loïe Fuller’s character in the feature film La Danseuse (Stéphanie Di Gusto, 2016), a biopic that focuses on the American dancer’s rise to fame with her Serpentine dances. The film, which can be seen as evidence of Fuller’s everlasting, inspiring, and influential effects, can also […]